1. Field of the Invention:
This invention pertains to that portion of a stringed instrument referred to as the bridge. More specifically, the present invention relates to an improvement in the design configuration of the bridge which develops improved sound transfer into the resonant body of the instrument.
2. Prior Art:
The bridge of stringed instruments has long been the focus of design innovation with the objective of improving sound transfer into the body of the instrument. It is generally believed that the bridge, sound post (positioned within the body of the instrument) and the instrument body itself constitute the critical parts of sound generation in such instruments as violins, violas, cellos, guitars, banjos, etc.
A great variety of bridge design has developed and is represented by the following patents U.S. Pat. No. 1,783,117 by Gosparlin and U.S. Pat. No. 2,446,267 by Dahn show conventional F-holes slightly modified to improve sound transfer. U.S. Pat. No. 642,416 by Beetem illustrates a multi-piece bridge in which each string is separately supported by a post. U.S. Pat. No. De. 43,358 by Goodyear depicts an artistic design for a bridge having separate columns or support members for each stringed instrument mounted on a common base. U.S. Pat. No. 1,852,509 by Dolan proposes a bridge that suspends the strings on a support cord journalled across support columns on the bridge. Finally U.S. Pat. No. 2,343,384 by McDonald discloses curved fingers that project upward to support individual strings, each finger being tailored in size to relate to the depth of pitch for the intended string.
Although the extremes of design represented by the above cited patents suggest many directions of innovation, virtually all commercial bridge design has retained the traditional configuration of a single, integral body having F-holes within the bridge body and having an uninterrupted crown of moderate curvature to support the strings. Typical of the traditional bridge is that configuration shown in FIGS. 1 and 2 and identified as prior art structure. These particular bridges are configured for a cello, but are representative of bridges useful for stringed instruments of the violin family.
The bridge body 10 includes a single, integral structure having front 11 and back 12 faces and a bridge crown 13 for supporting the strings of the instrument in proper relation to a finger board. Typically, small grooves 14 are cut into the crown 13 to stabilize the taut string in proper position F-holes 15 and 16 are cut through the bridge structure to reduce the amount of mass in the body of the bridge As noted from FIG. 1, the crown 13 is narrow at the top 16 and diverges to a thicker structure toward the base or feet 18 of the bridge.
Attempts to improve sound transfer from the strings into the resonating body have been unable to capture the g interest of most musicians, who remain traditionally committed to the bridge style as represented by FIGS. 1 and 2. Furthermore, the various innovations illustrated in cited prior art patents have failed to develop the full tonal response required from the stringed instrument.